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It wouldn't surprise me if the PremiereOpera recording proved identical in every way with the published, but now unavailable set I gave details of earlier in this thread.

The VC's a very attractive piece indeed - and beautifully played by Sergey Levitin. We all owe Martin Yates an enormous debt of gratitude for this piece of sleuthing - and reconstruction work. Although not particularly long (approx 24:30), it seems to pack in an awful lot in that time span. I'd say there were some similarities to Saint-Saëns, although some of the climaxes pack a tougher punch, as it were. I don't think it's a major discovery (unlike, say, the roughly contemporary Raff VC1 or the Dietrich VC), but it's an uncommonly appealing one.

More on the remainder of the CD anon...

Yes: there's no problem like that with the PremiereOpera recording.

I like it   

Well sleuthed, Eric. Thanks.

...and so back to S-K, please. I'm sure there are plenty of other forums (fora?) where Stockhausen can be discussed. In any case, he's hardly unsung, is he?

Unless I've misunderstood you, Eric, we were talking about Dankowski.

Ferdinand Sabathil (1856-1937) was an Austrian flautist-composer who studied at the Prague Conservatory under Vilém Blodek. He left approx. 400 works for flute. (Info from German Wikipedia).

He isn't necessarily too early. It's simply that we need to be discussing his later music to see whether his style changes; in other words, what would interest us here are works that show elements of the transition from late classicism to early romanticism.

Old, older, oldest. Reads like a grammar exercise. And we all know that exercise is good for us at our age... 

Here's a sample of Dankowski's Symphony in E flat:
https://www.youtube.com/watch?v=1D1H9xq-lso
It's pretty standard classical fare - it certainly falls outside UC's remit (it's too early), so we really need to be talking here about much later stuff by Dankowski...

And we're getting old too, Colin...

Once heard, there's very little point in seeking out other, much less well sung recordings. The Rosenthal is unlikely ever to be bettered - there simply aren't the French singers around today. Of course, the set ought to be officially reissued; meanwhile do get the Premiereopera version of the same performance. It's out of this world.

Indeed, Eric. Thirded!

Could we have more details of the specific works you're talking about, please?